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“How does it feel?” is one way by which to measure a movie. But if you’ve seen “ A Complete Unknown ,” the Bob Dylan biopic that opened on Christmas Day, you may have left the theater singing to yourself (to the tune of “Like a Rolling Stone”): How much is reeeaaallll? The short response is: A lot. But the long answer involves acknowledging director James Mangold ’s film taking liberties in terms of a condensation of timelines, the conjoining of separate incidents, fictional character names in a couple of cases, and moments of sheer imagination and fictionalization. It’s certainly possible to enjoy “A Complete Unknown” without stressing too much over which parts are fact and which are fanciful. But for those who want to take a deep dive into how much the movie aligns with the known historical record, we looked to several Dylan experts to help sort it out. Our primary guide is Elijah Wald, who literally wrote the book on this subject — as in, the 2015 book that was optioned and gets a “based on” credit at the beginning of the film: “Dylan Goes Electric! Newport, Seeger, Dylan, and the Night That Split the Sixties.” He’s very high on the film, even though he’s independent enough from it to point out areas where the screenplay deviated from his source material. We also talked with David Browne, author of the recently released “Talkin’ Greenwich Village: The Heady Rise and Slow Fall of America’s Bohemian Music Capitol,” who is similarly a fan of the film, even if it sketches the folk scene in shorthand. Finally, we discussed it with Ian Grant, a Dylan buff who is the co-host of two Dylan-centric podcasts, one of which, “Jokermen,” last week featured a heated discussion of the movie’s accuracy and one sticking point in particular that Grant couldn’t get past. Mangold recently told Variety that the film is “not a Wikipedia entry” and he didn’t feel a fealty to a documentary level of facts — but also pointed out that, besides relying on Wald’s book and other historical source material, he based his version of the script (co-written with Jay Cocks) on many hours he spent personally talking with Dylan. In any case, many of those who’ve been in Dylan’s orbit over the years have given it high marks. Kevin Odegard, who played guitar on “Blood on the Tracks,” wrote, “We loved every minute... Critics who pick apart the imaginative world of composite characters and compacted historical footnotes are the dogs who caught the car. They miss the emotional punch of James Mangold’s poignant Hollywood movie.” And Ronee Blakley, a veteran of the Rolling Thunder Revue tour, wrote, “I am happy for Bob to be so carefully portrayed that his legacy stirs excitement today just as it did then, his magic and greatness self-evident and timeless. And we get a glimpse of what it cost him. Timothée Chalamet deserves an award, as does the picture.” Here are some burning questions viewers might have after seeing the film, followed by some burning answers. At the Newport Folk Festival of 1965, did a dismayed fan yell out “Judas!” — to which Dylan replied, “I don’t believe you... you’re a liar”? No... not there. But as most hardcore Dylan fans will know, that exact exchange with the audience did happen a year later, at a 1966 U.K. gig in Manchester that was widely distributed as a bootleg and eventually officially released. So Mangold has combined two incidents in which at least some of the audience was rebelling against Dylan transforming himself into a rock ‘n’ roller. Podcaster Grant, who has a few other problems with the film, doesn’t think this conflation counts as one. “Ultimately, that’s just sort of nerdy fan trivia-type stuff, so I don’t really think that has a fundamental impact one way or another on the quality of the movie,” he says. How accurate, otherwise, is the climactic depiction of Dylan’s appearance at Newport in 1965 ... especially the crowd reaction, booing included? Says Browne, “If any moment in music history was born to be a scene in a biopic, it’s Dylan plugging in at that Newport — from (Pete) Seeger and the ax to the crowd reactions to Dylan returning to the stage with ‘It’s All Over Now, Baby Blue’ (as a comment to the crowd ... or not). Overall, I thought the film did a good job recreating that explosion at Newport, even if the crowd shots seem a bit over the top.” In his “Dylan Goes Electric” book, Wald devotes thousands of words to recounting that fateful day, based on first-hand accounts... many of which substantially differ from others. “There were 17,000 people there,” the author points out. “Depending on where you were standing, I’m sure there were people who were surrounded by people booing, people who were surrounded by people cheering, people who heard a bit of both, people who thought everyone was just confused. Those are all accurate memories of the people around you, in a crowd of 17,000, right?” The problem in coming up with any kind of accurate consensus reaction, he says, is that “during the electric set, the microphones were turned way down because the amps were so loud on stage, so there’s no record recorded of what was happening in the audience. But critic Robert Shelton was in the audience, covering it for the New York Times. He was keeping a notebook at the time, and after ‘Maggie’s Farm,’ he writes in his notebook: ‘Some booing.’ He was writing that as things were happening, so that’s not hindsight. But none of that’s on tape. Once the band got off stage and Peter Yarrow came up to try to quiet the crowd, the microphones were turned up and then you can hear the crowd. And there are people yelling for Dylan to come back. There are also people yelling, ‘Bring back Pete Seeger.’ There are people yelling for (Dylan) to get ‘a wooden box,’ which I take to mean an acoustic guitar. There are people yelling at the other people to shut up. I mean, it was a very confusing scene.” Wald adds, “The best example I have of that is a friend of mine who was there, who has absolutely clear memories of how much he loved Dylan’s electric set — and also absolutely clear memories of coming back from Newport with a picture of Dylan on the inside of his guitar case, which he’d crossed out because he was so angry about Dylan’s electric set. And I think that’s not atypical. There were a lot of people who were upset in the moment and very quickly fell in love with the electric stuff.” A complicating factor in telling this story: Prior to the contentious Sunday electric set, Dylan had done an acoustic performance at the festival, on Saturday ... during which some people attending Newport for the first time were unhappy he wasn’t doing his new electric material! “When he went on for his acoustic set on Saturday afternoon, you can hear the audience (on tape) — there are all these people yelling for him to play ‘Like a Rolling Stone,’ because that was the hit on the radio right then. There were a lot of people who had come to Newport just to hear Bob Dylan, the friend of the Beatles, play ‘Like a Rolling Stone’ and who were being really obnoxious about the other acts. Some of the people at his afternoon set were yelling at the people on the banjo stage to quiet down so they can hear Bob Dylan. So there was already a lot of irritation at the festival before he ever got on stage the next night.” Did Pete Seeger really think about taking an ax to cut the cables as Dylan was alienating some festivalgoeers with his electric set? In the film, this legend is given a nod just by Seeger (played by Edward Norton) glancing at an ax, but not actually picking it up. “I thought how they handled the ax thing in the film was pretty goddamn smart,” says Wald, even though his book goes to great lengths to discredit the idea that Seger was ever in danger of picking one up. Even Seeger eventually “said that ‘if I had an ax, I’d have cut the sound cable’ — which is just an invention. I mean, the whole ax thing was just because Peter Yarrow said (on the microphone to the crowd), ‘He’s gone to get his ax,’ when Dylan went to get a guitar” to perform the solo acoustic encore festival producers were begging for. Some heard the “ax” comment and believed Yarrow was referring to Seeger and a literal blade. One thing Wald says is completely accurate in that moment: “I love that they show that Toshi (Seeger’s wife) is the one who calms him down, which, according to their daughter, is exactly what happened — that Pete was really upset and was trying to shut things down and Toshi said, ‘Hey, cool it.’” Were Dylan and Johnny Cash devoted pen pals? Yes, this is completely accurate. “The scenes in the airplane with them writing letters back and forth, those are direct quotations, in fact, from their letters,” Wald says. He quoted some of them in his book, and as Variety noted in its coverage of the opening of the Bob Dylan Museum in Tulsa, some of those handwritten mutual fan letters are on display for fans to see up close. Did an intoxicated Cash urge Dylan on in the latter’s desire to do a rock ‘n’ roll set at Newport ’65? No, this particular meeting of rebellious minds is an invention of the screenplay. Cash wasn’t even at Newport in 1965, although he did famously play there the year before that. As for whether their scene together in a parking lot captures the spirit of the relationship... “Some of it feels real, some of it’s overdone,” says Wald. “With the Cash character, I think they overdo the goofiness a little bit. I don’t think he was destroying a lot of cars at Newport, and if he had, he’d have been more apologetic about it. I mean, Cash was very high on pills, as I believe probably Dylan was too. But although Johnny Cash was rowdy, he was not destructive in that particular way, and particularly at Newport, which was very important to Cash. He was very concerned with making a good impression at Newport because he was trying to break into the national, that is to say northern, college market. Everybody at Newport only got $50, so Johnny Cash was losing a lot of money by playing Newport, and he was there because he had the vision, which very few people in country music did, to see this potential audience for him, and he was recording Peter La Farge’s ‘Ballad of Ira Hayes’ out of (folk publication) Broadside Magazine. That’s one of the funny parts about all of this is, people positioning him as outside the folk scene. He was very much appreciating and trying to be recognized within that. That said, it isn’t a movie about Johnny Cash — Mangold already did that (with ‘Walk the Line’).” Which completely fictional scene in the movie did Dylan make up and ask James Mangold to add to the screenplay? The answer to that is completely unknown; Mangold is keeping that as a secret he holds close to his vest. But Wald is willing to hazard a hunch. “There’s this story that we’ve all heard that Dylan suggested that they add a completely fictitious scene, and nobody’s saying what it was. If I had to guess, I would guess it was the ‘Now, Voyager’ (recurring motif), just because it’s the only thing in that movie that I can easily imagine Dylan coming up with and can’t imagine someone else inventing as a part of his story.” The Dylan character and the one based on real-life girlfriend Suze Rotolo go see a revival movie early in their courtship, then reenact a moment from it in a bittersweet farewell at the climax of this film. “Because Dylan is an old movie fan, I can imagine him imagining acting out the Bette Davis/Paul Henreid scene from ‘Now, Voyager’,” Wald supposes. “It seems so unlikely to me that someone else would come up with that. When I see that, I go, ‘That’s cute.’ Did it happen? I have no idea.” Going back to the beginning: Is the film’s portrayal of Dylan’s arrival in New York and quick integration into the folk scene accurate? And how about the quick sketches of the players on that scene circa 1961? Browne, whose new “Talkin’ Greenwich Village” book lays out that folk scene in great detail, is perhaps naturally disappointed the movie skips glancingly through that period and its key figures. “As someone who spent a lot of time researching Dylan’s fellow Villagers of the time, and also meeting with and interviewing those still with us. I was struck by how few were depicted in the film,” Browne says. “Where are Phil Ochs, Tom Paxton, Len Chandler, Carolyn Hester and Terri Thal, Dylan’s first manager? From what I can tell, Dave Van Ronk — a towering figure even then, and someone Dylan respected, someone on whose couch he often crashed — is only in two fleeting scenes, and barely identified even then. Obviously one can’t make room for all of them in a movie like this, but without more of those characters, we don’t get as strong a sense of how disruptive Dylan was in the Village, and not just nationally. His rapport with Ochs could have made for a few meaty scenes; their rivalry embodied the topical-vs.-personal, acoustic-vs.-electric debates of the time.” Besides his “Dylan Goes Electric!” book, Wald also published a biography of Dave Van Ronk, but he isn’t bothered that that influential singer is only identified in the end credits and not even referred to by name in the film. “Van Ronk is basically non-existent in the movie, and that’s fine. I’m not cranky about that,” Wald says. “Neuwirth has a slightly larger role that I think is handled rather nicely.” Grant was thrown off by the congregation of boldface names right at the beginning. “Literally the first building he walks into in the entire city, Dave Van Ronk just comes up to him and starts talking to him, and then two hours later he’s out in New Jersey and he’s met both Woody Guthrie and Pete Seeger, all within about six hours of his arrival to New York. That had me rolling my eyes a little bit, even understanding that they’re gonna have to make exceptions to reality and abbreviate things for the dramatic arts’ sake.” Did Dylan’s first performances galvanize audiences from the get-go? Not as much as depicted in the film. Browne’s “Talkin’ Greenwich Village” book says that early Dylan gigs found him “awkward and out of place one moment, assured and in command the next,” with a co-manager of the Gaslight saying he was initially “disastrous” and a Daily News reporter saying he “left the stage to the sound of perhaps one hand clapping.” Certainly Shelton, Albert Grossman, Joan Baez, et al. were never in the same room on the same night, as portrayed. Says Browne, “In talking with people from the scene and reading first-hand accounts from those who have since passed, I was struck by how jarring Dylan’s voice, guitar playing and early repertoire were to so many in the Village at the time. His approach wasn’t as formal as some of the area folk singers who’d come before him in the ‘40s and ‘50s; with his phrasing, humor and energy, he injected a far more rock ‘n’ roll sensibility onto those tiny stages. That roughness captivated some and caused others to bristle, and we don’t get much of that sense in the film. It wasn’t love at first sight or sound for everyone.” Robert Shelton of the New York Times wrote that he was “bursting at the seams with talent” only upon seeing him a second time at Folk City — a notice that made a big difference in Dylan’s career. So Browne was happy to see him portrayed in the movie. “In terms of the local press, Shelton practically had the folk club to himself, and in the New York Times to boot. He also championed everyone from Buffy Sainte-Marie to Eric Andersen, helping with their careers. Speaking as a journalist myself, one of my takeaways from my research was the power of the press in those days. Even in the ‘70s, newer Village acts like Steve Forbert, the Roches and Willie Nile landed record deals right after they were praised by Times critics John Rockwell and Robert Palmer. How often does that happen now?” Did his first encounter with Joan Baez involve insulting her from the stage after following her at a NYC folk club? That’s invented. In fact, Baez wasn’t hanging around New York at all. “Joan did not like New York. She was from Cambridge, which as a group considered themselves the purists and the New York people to be running after the money. Joan was the prime example of that, turning down Columbia Records and Albert Grossman and staying in Cambridge and then going off to Carmel, California. Bobby Neuwirth was also Cambridge, not New York. But you have to simplify stuff like that, and I think it was a good choice for the movie.” Says Browne, “As Baez told me in an interview for the book, she and Dylan first met outside Gerde’s Folk City in 1961. She’d driven from Boston to the city to attend a protest in Washington Square Park (the infamous “Beatnik Riot”) and just missed it – but, since she was there, decided to check out this kid she’d already started hearing about. She was struck by his stage presence right away, and he introduced himself to her outside the club and sang her a song, but there’s no record of any initial cutting remarks. She also didn’t realize he was more, um, intrigued by her sister Mimi than her at the time.” How about the portrayal of Joan Baez in general? “I was utterly blown away by (Monica) Barbaro’s singing,” says Wald. “Going in, I had thought a good actor can act Bob Dylan singing, because Bob Dylan singing is all about the phrasing, but acting Joan Baez’s voice, which is all about the instrument — I thought Barbaro did an astonishing job. She doesn’t sound exactly like Joan, but boy, she sure as hell sounds good.” Says Grant, “I think that she’s given a relative fair shake in the movie. The film paints her in a more fair and attractive light than someone like Joan Didion did. I don’t know if you’ve ever read Joan Didion’s writings about Joan Baez, but it’s a brutal dressing-down, unfairly. in many cases. But I think she’s fairly drawn, and is more interesting and comes across as more of a real human being than the Suze Rotolo character, or Sylvie Russo as she’s called in the movie.” Grant also liked the way a Halloween 1964 interchange between Dylan and Baez on stage at a New York Philharmonic show was portrayed. “They end up almost getting into this fight up there on stage — that’s a fun and, I think, a well-drawn scene. That’s one of the great early solo acoustic performances by Bob, right before he’s about to go into electric mode the following year — and the relationship dynamic, I think, between him and Joan is one of the best parts of that performance.” How about the Sylvie character, who everyone agrees to assume is meant to be Suze Rotolo? Says Wald, “They changed Suze’s name and fictionalized her a good deal. But honestly, I had been afraid that they would just make her the nice girl next door, who he left for the mysterious Joan, rather than being the political conscience who got him into political music. So I was really pleased that they have her working for CORE and getting Dylan out to political things. And I was pleased that they have her leaving him rather than vice versa.” Grant says that the movie accurately indicates that “she is the one that introduced Bob to political songwriting in the first place, by kind of bringing him into a lot of the student actions and rallies and meetings and stuff that she had already been attending by the time Bob showed up. They do gesture at that in the movie, but I think she’s really just turned into wallpaper by the end of the picture.” Was there a love triangle that was still unfolding by the time of the 1965 Newport Folk Festival between Dylan, Baez and Suze Rotolo? No. The movie is ambiguous about why Dylan offers to drive Rotolo to the festival on his motorcycle and then leaves her to tearfully witness his chemistry with Baez — whether there is lingering romantic interest there. In any case, Rotolo did not attend the festival and was long out of his life romantically by then. So was Baez, for that matter, though they still shared some stages. The “triangle” there is played more for symbolism about two different ways of beings Dylan is simultaneously casting aside, even as the focus moves toward his artistic changes. Is there any potential major character that’s left out completely? It’s funny you should ask that. Grant’s big beef with the movie (one that was also expressed by New Yorker critic Richard Brody, whom Grant amplified on social media and in a Jokermen podcast): the lack of any mention of Sara Lownds, who was soon to become Sara Dylan. Lownds and Dylan first got together romantically in 1964, and by the time Newport ’65 transpired, they’d already taken a lengthy vacation together. He married her just a few months after Newport. But she’s not mentioned in the movie. “She doesn’t exist in this reality, basically,” says Grant. “Meanwhile, Joan Baez and Suze, or Sylvie, are two characters meant to stand for two different ways of being in the world, positioned against one another. Bob obviously is drawn to elements of each, but ultimately decides that neither of them is as important to him as his ability to continue to follow the muse. But in reality, he does find the perfect person for him, a romantic partner that works with his creative life, and with whom he actually strikes up a very rich and rewarding family life just after this movie ends — and was already involved with at the time — in Sara. It tells a false sort of a half-truth at best, if not an outright fabrication, about Bob’s relationship to romantic partners in his life. The movie does nail aspects of that, certainly, with these characters and kind of the dirtbag way he treated some people early on. But to present this as sort of the defining holistic picture of this man, when obviously he is fundamentally a different human being at this moment in time, to say nothing of the ways that he’s going to change in the months and years to come, just sort of strikes a downward note to me.” Grant adds, “The Suze character in the picture is representative of kind of the civilian way of life, or the non-arts way of being in the world. The character paints and she’s active in the left student movement, but she’s fundamentally just kind of like a ‘normal person’ as opposed to someone like Bob Dylan or Joan Baez, who are these generationally talented celebrity artists. The Suze Rotolo character is unsatisfactory for him, because he’s too big, too brilliant, too brash to settle down with someone like that. In reality, he does settle down with someone like that. Obviously Sara is a very different person than Suze herself. But I think on that basic understanding level of someone who isn’t running in the scene, someone who isn’t obsessed with celebrity, someone who isn’t out to make a name for themselves, that’s exactly the kind of person that he ends up spending the next 10 years being married to.” Because so much of Dylan’s music over the next 13 years was inspired by Sara, both in romance and ultimately in divorce, Grant says “that to me is such a ‘Rosebud’ type of thing, to borrow ‘Citizen Kane’ terminology, in Bob’s life. That is the single source which so many decisions are made out of and so many songs written from. So, I think that kind of why I’m so hyperfocused on that element of things here.” As for why Dylan’s then-romantic partner and future wife isn’t portrayed in the final stretch of the film, it may be because a romantic quadrangle was a bridge too far for the scriptwriters. Or, in Grant’s view, because Dylan is committed to keeping his former wife out of things, since she has chosen to live a private life and not comment publicly on their relationship, as Suze Rotolo finally did before the end of her life, with a memoir. (Even then, Dylan was protective in insisting she be fictionalized for the film.) Grant counters that by noting that the Dylan/Lownds relationship was dramatized in the Heath Ledger segment of Todd Haynes’ 2007 “I’m Not There” movie, albeit with everyone in that portion — the Dylan character included — being identified by pseudonyms. On a more mundane note... how accurate are some of the studio moments portrayed in the film? Like Al Kooper playing the organ part on “Like a Rolling Stone” spontaneously, as a non-organ player? There are a lot of what might be considered Easter-egg moments for Dylan fans to latch onto. For example, when “Like a Rolling Stone” is being recorded, the musician Al Kooper comes to the studio, announces himself as the guitar player, and is informed that they already have one of those, so he places himself at the organ instead, playing what becomes a world-famous part, despite his discomfort with the instrument. As a whole, that’s true, although it didn’t happen in the matter of virtual seconds it does on film, and the band wa a few takes in before those famous licks started up. On the other hand, Kooper gets short shrift as the actual purchaser of the police whistle heard on the “Highway 61 Revisited” album; the movie shows Dylan being inspired to pick that up from a street vendor on his own. Moving back to Newport ’65... did manager Albert Grossman and folk music legend and festival mainstay Alan Lomax really get in a physical struggle? Yes, although not during or about Dylan’s performance. Wald doesn’t mind that the fight got transferred from one moment to another, since he’s pleased about the portrayal of Lomax generally. “I think they got some things right about Lomax that everybody gets wrong and that nobody will notice that they got right except me,” Wald says. “Everybody has Lomax as being anti-electricity, and that’s absolutely wrong. Lomax was, in fact, I think the first folklorist ever to record a band with an electric guitar back in the ‘40s. Lomax thought rock ‘n’ roll was great! What set him off at Newport was the Paul Butterfield Band, and it was not that they were playing loud electric music. It was that he was the guy who had discovered Muddy Waters, and he was upset that the first electric band invited to Newport was a bunch of white college kids. They have exactly that scene in the movie with him complaining about them being a white band who is fake and being brought in because Grossman is managing them. Which wasn’t quite true; he was still courting them. I do think everybody will see the film and walk out still thinking that Lomax hated electricity, even though they don’t say that, because that has become the myth. His fight with Grossman was real, but had nothing to do with Dylan.” Adds Wald, ”The funny thing about Lomax is, Lomax had no more time for Dylan as an acoustic singer-songwriter than as an electric singer-songwriter. He liked folk music as the music of the peasantry and the proletariat, and he thought people like Dylan and the New Lost City Ramblers and Dave Van Ronk were fake — and it had nothing to do with electric and acoustic... which, as I say, the movie actually got right, but not in a way that anybody but me will notice. I also don’t think that scene ever happened in the board meeting, where he blows up and Peter Yarrow walks out. I don’t think that’s ‘real,’ but it’s true — it’s completely accurate to the people.” Did Dylan really sit in on an episode of Pete Seeger’s TV show with the host and a blues player? No — that scene is fictional, and so is the character name of the bluesman, although he’s based on Big Bill Morganfield. And yet Wald is delighted by the scene because it illuminates a versatility and curiosity that the author thinks Seeger doesn’t get enough credit for. “I’ve never been in rooms with Dylan, so I can’t speak to that, but I knew Seeger, and Ed Norton as Seeger... both I and people who knew Pete much better than I did are blown away. Even more than that, they got the music right from beginning to end, and there’s so much music, and not just Dylan’s music. That scene where Dylan and Big Bill Morganfield are playing blues together and Seeger starts playing banjo along with them — now, that didn’t happen, but that’s exactly the way Seeger played banjo when he was jamming with blues people. And most people aren’t even aware that Pete Seeger could jam on a blues, including a lot of people who were pretty deep in the scene. That’s absolutely accurate, except that particular meeting didn’t happen in that particular place.” What about the portrayal of Seeger generally — does he get a fair and accurate shake? And is the film really about folk versus rock? Says Wald, “I’m so used to people who are doing the Dylan story being interested in Dylan and casting Seeger as one of the boring old folkies. What I was trying to do in my book was suggest that he was as complicated and in some ways as difficult a person as Dylan, and that they just were on different paths — sometimes the same, but at that moment, at Newport, very much not. But then again, after that, (they remained friends), which is another thing I liked about the movie.” And even if it was concocted, Wald loves having the movie end with a scene of Dylan back in Woody Guthrie’s hospital room playing harmonica along with “So Long, It’s Been Good to Know You” — an indication that the newly minted rocker really isn’t leaving folk behind at all, at least hardly for good. “The way that story was told in the ‘70s always was from a rock point of view,” Wald says, “written by people who had never liked folk music and never liked Pete Seeger, and felt like the story was Dylan liberating himself from the boring old folkies and proving the rock ‘n’ rollers were right. By now, though, we all think of Dylan as deep Americana, someone who has remained very true to that tradition. And so I just think that that whole incident looks very different, not just in the film, but pretty much to anyone younger — it makes perfect sense to think of that moment as Dylan trying to break away from the folk scene , but not from folk music . Which is true. “I mean, ‘Maggie’s Farm’ is sort of exhibit A. When Dylan is singing ‘Ain’t gonna work on Maggie’s farm no more’ at the beginning of the Newport ’65 performance, it’s absolutely a declaration of independence from that scene. But it’s based a song about sharecroppers, ‘Penny’s Farm,’ from the 1920s, which Pete Seeger had recorded in 1950! “At the time, Seeger was really upset by what he heard as the aggression. What you see in the film, with Dylan and the guys with him being sick of being stuck in this box, and ‘we’re gonna show the goddamn folkies,’ I think that’s accurate. And there’s a thing I quote in my book that he wrote that very week where he said he felt it was angry and destructive. But he was a man given to a great deal of soul-searching. And he rather quickly decided that he had misunderstood, and that ‘Maggie’s Farm’ was in fact a brilliant song, and that Dylan had indeed been sort of crushed into a box and had to escape. And they made up and they continued to get together over the years.”Srinagar Post-Snowfall: Snow Clearance Issues Stall City Traffic, SMC Claims Major Roads Cleared
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As the calendar flips to 2025, it’s time to embrace the new year with fresh opportunities for health and wellness, right here in Athens. From fitness classes to creative outlets to volunteering, our city offers plenty of options to rejuvenate both your body and mind. Here are just a few local ideas to help you get started: 1. Start Strong at the Cain Center YMCA The Cain Center YMCA is the heart of fitness in Athens. Whether you're looking for group exercise classes like yoga or high-energy Zumba, or prefer the 24/7 solitude of the gym’s state-of-the-art equipment, there’s something for everyone. Pickleball is readily available for those eager to explore this trending sport. For year-round water lovers, the heated indoor pool is perfect for laps or water aerobics. If you’re new to fitness, consider signing up for one of the beginner-friendly classes or make an appointment with a personal trainer to ease into your wellness journey. 2. Explore the 100 acres at the East Texas Arboretum Reconnect with nature while walking the serene trails at the East Texas Arboretum. A morning or lunch stroll through the gardens offers exercise and a mental reset. Pack a journal or a book and spend some time reflecting in one of the arboretum’s peaceful nooks. Make it a weekly ritual to prioritize quiet time amidst nature. Bring the whole family and immerse yourselves in the natural beauty of the arboretum. 3. Engage your mind in community classes Athens is home to a variety of workshops and activities designed to stimulate your creativity. Pop into a class with Carolyn Tyler and the Texas A&M AgriLife Extension Service. Check out one of the workshops hosted by the Arboretum. Look into adult and continuing education classes at Trinity Valley Community College and expand your knowledge. Engage in your theatrical side with a class at Stage Notes Academy of Performing Arts. Book a cooking class with 6 Forks Farm and enhance your kitchen skills. These activities are not just about creating something new - they’re also proven to reduce stress and boost mental health. 4. Embrace lake life Take advantage of the beauty and recreational opportunities at Lake Athens. Whether it’s kayaking, fishing, or simply enjoying the fresh air, spending time by the water is a great way to reset and connect with nature. 5. Take care of your whole self Athens is home to a host of medical professionals who want to get you the healthiest you’ve ever been. Make an annual appointment and have bloodwork done, even if it’s been many years since your last one. There are several great chiropractors and wellness clinics that have your whole body's health in mind, one partnering with a yoga studio. Make an appointment at one of the many great spas that Athens has to offer and get a massage or facial more than once in 2025. Open up about your mental health with trusted friends or family, creating a space where honest conversations feel natural and supportive. Sharing your thoughts can strengthen connections and promote well-being for everyone involved. 6. Take up golf Did you know that the Athens area is now a haven for golf lovers with 3 options within 10 minutes of downtown? Been a few years since you’ve swung, never tried, or just want to see what it’s about? Stop by the Athens Country Club for the full club golf experience. Choose from hundreds of courses, train with the newest technology technology, or play a family fun round at Square Fairways indoor golf simulator venue downtown. Pitch ‘N Putt Baxter, TX is a great place to work on your short game in a beautiful country setting, and make sure to follow their Facebook to catch live music lineups. Wanna drive a little further, there are even more courses to choose from within 30 minutes. 7. Volunteer Not only does volunteering boost your mental health by giving back, but there are so many that benefit from the time you give. Join the Kiwanis, Rotary, Lions, Masons, Methodist Men, and more and find a group that not only serves others but also provides a form of unique fellowship. Volunteer opportunities with organizations like Henderson County Food Pantry, Athens Animal Shelter, or Keep Athens Beautiful can get you moving while connecting with the community. Helping others is a meaningful way to start the year with purpose. Start the new year with a fresh focus on your health and wellness by taking advantage of the many local resources Athens has to offer. From outdoor adventures and fitness classes to mindfulness practices and community activities, there’s something for everyone to embrace a healthier, happier 2025.Is Steve Smith finished? No, you won’t get an answer on that – not when a lucky bounce, a dropped catch or a fluke deflection will take all the science out of it. It’s not the most interesting question anyway. The question is how long Smith intends to stay in Test cricket, and it becomes more pressing the longer his dry run continues. There is also the matter of how long such a towering senior player’s performance is allowed to affect their teammates. It is 13 matches since Smith passed three figures, at Lord’s in 2023. In that time, he averages 29.55. His past seven Test innings (picked selectively, since his unbeaten 91 as an opener against the West Indies in Brisbane) have been 31, 0, 11, 9, 0, 17 and 2. Including that innings in Brisbane, his 2024 tally is 232 runs at 23.20. No amount of slicing and dicing can prettify it. Smith’s intention becomes the sole factor because the current selection panel has a proven record of not being able to drop Australian Test players. In three years on the panel, George Bailey, Tony Dodemaide and Andrew McDonald have not dropped one single player on a performance basis. The nearest they have come was omitting Marcus Harris at the fag-end of the 2021-22 Ashes series, but that was a reshuffle caused by Travis Head returning following a positive COVID test. Harris was subsequently selected for ongoing Cricket Australia contracts. You have to go back to 2019, before any of the current selectors were on the panel, when Cameron Bancroft was the last Australian player to be dropped. It’s quite a record. It also shows why the chatter around Marnus Labuschagne’s place after Perth was idle speculation. I just wish these selectors were corporate executives given a list of redundancy numbers to fill. Smith’s future, like David Warner’s before him, is in his own hands. His record of 9704 runs at 56.09 gives him that grace, and the selectors’ forbearance means it is a grace that will last as long as Smith wants it. Illustration: Simon Letch Credit: Few have ever been able to guess what goes on inside Steve Smith’s idiosyncratic mind, and it would be folly to start. A couple of observations from the outside. First is that his singular technique never looked like it would age well. Moving so far across the crease, front-on, required two outstanding qualities of the eye. One was to be able to hit every single ball on his pads, because otherwise he was lbw. The other was to have the clarity of mind to judge balls that might be coming in from his off side. This required a quickness and instinct that cannot be taught or imitated. They were Smith’s own. But they were always abilities requiring a young, supple mind. There’s a reason batting isn’t taught that way. Orthodoxy is coached because it survives better. It compensates for other weaknesses. But even masters of orthodoxy such as Greg Chappell , Sachin Tendulkar and Ricky Ponting declined after 35. News bulletin (send it to Washington and Moscow, please): ageing is a thing. Smith’s motivations are opaque. It wasn’t a good sign when he selected himself as an opener this year because, in his words, he wanted a new challenge. It didn’t start well and it ended with 51 runs in four innings in New Zealand. Then came the reversion to No.4. The whole escapade was a minor humiliation for one of the greats of the game that wouldn’t have been allowed if the selectors had any authority. Steve Smith hasn’t scored a Test century in 2024. Credit: AP On the field, Smith doesn’t give away clues, and only his closest circle would have much of an idea how he is thinking and feeling. You would expect he is aiming at the 296 runs he still needs to pass the magic 10,000, or a last Ashes campaign next year, but these are only guesses. Making the battle harder still is that the Border-Gavaskar series is a bowlers’ one. Dr Grace said the crowd had come to watch him bat, not someone else bowl, but Australia and India have bedazzling attacks. All the Australian pacemen have been outstanding, but the results in Perth and Adelaide have been determined pretty much by Jasprit Bumrah’s first spell on the first day. In Perth he was sublime. In Adelaide, affected by injury or not, his first spell was poor. The Australian top order, again trying to leave everything, was there for the taking, but Bumrah could not find his accuracy. Nor could his back-ups, and India did not have Australia’s bowling depth. In Adelaide, Labuschagne and Nathan McSweeney survived that day-one session, setting the match up for Travis Head on day two. Not Smith, whose technique again showed signs of age and the bad luck that comes with it. Simon Katich has made the astute observation that although Smith might have a big innings in him – something to answer the critics, to reassure himself, to reprise his glory days – but his era of dominating bowlers with consistent plunder is over. He is far from alone. In recent times, only Brian Lara (nine), Kumar Sangakkara (eight) and Usman Khawaja (seven) have continued to score Test centuries consistently after turning 35. All three played with orthodox methods. The hunger remains sharp, at times, but every other part loses that fraction of a per cent that makes the difference at the highest level. A last hurrah is nobody’s entitlement, but cricket is a sentimentalist’s game that doesn’t want to see its highest achievers fade away ingloriously. I don’t think any genuine cricket fan would not wish Smith well. Same for Khawaja, Virat Kohli and Rohit Sharma. But no matter how they go in the middle, they share one certainty. They won’t get the chop. Today’s players can retire on their own timetable. Sports news, results and expert commentary. Sign up for our Sport newsletter .
Nearly half of American teenagers say they are online “constantly” despite concerns about the effects of social media and smartphones on their mental health, according to a new report published Thursday by the Pew Research Center. As in past years, YouTube was the single most popular platform teenagers used — 90% said they watched videos on the site, down slightly from 95% in 2022. Nearly three-quarters said they visit YouTube every day. There was a slight downward trend in several popular apps teens used. For instance, 63% of teens said they used TikTok, down from 67% and Snapchat slipped to 55% from 59%. This small decline could be due to pandemic-era restrictions easing up and kids having more time to see friends in person, but it's not enough to be truly meaningful . X saw the biggest decline among teenage users. Only 17% of teenagers said they use X, down from 23% in 2022, the year Elon Musk bought the platform. Reddit held steady at 14%. About 6% of teenagers said they use Threads, Meta's answer to X that launched in 2023. The report comes as countries around the world are grappling with how to handle the effects of social media on young people's well-being. Australia recently passed a law banning kids under 16 from social networks, though it's unclear how it will be able to enforce the age limit — and whether it will come with unintended consequences such as isolating vulnerable kids from their peers. Meta's messaging service WhatsApp was a rare exception in that it saw the number of teenage users increase, to 23% from 17% in 2022. Pew also asked kids how often they use various online platforms. Small but significant numbers said they are on them “almost constantly.” For YouTube, 15% reported constant use, for TikTok, 16% and for Snapchat, 13%. As in previous surveys, girls were more likely to use TikTok almost constantly while boys gravitated to YouTube. There was no meaningful gender difference in the use of Snapchat, Instagram and Facebook. Roughly a quarter of Black and Hispanic teens said they visit TikTok almost constantly, compared with just 8% of white teenagers. The report was based on a survey of 1,391 U.S. teens ages 13 to 17 conducted from Sept. 18 to Oct. 10, 2024.
PHILADELPHIA (AP) — The guy on the Philly sports talk radio station had something to say, and he started to vent about the perceived strained relationship between star quarterback Jalen Hurts and standout wide receiver A.J. Brown. Why weren’t these two Pro Bowl Eagles on the same page? Why had their personal and professional relationship changed even with Philadelphia enjoying tremendous success? It was football gossip usually ripe for a hot-take host or fed-up fan to stir up on the air — only in this instance, the temperature check came from inside the locker room. Normally respected team leader Brandon Graham, who is sidelined with a triceps injury, noted in a radio appearance that “ things have changed ” between Hurts and Brown in the wake of a stale passing game in last week’s win over Carolina. An apologetic Graham walked back his comments. Hurts and Brown both insisted their relationship was cool in front of media hordes more appropriate for the Super Bowl. As for the rest of the Eagles, they were ready to squash the so-called controversy. “We are moving on,” offensive lineman and Christmas song crooner Jordan Mailata said. “It is the Pittsburgh Steelers this week. Not the A.J. Brown and Jalen Show. It is the Pittsburgh Steelers. That’s it.” Oh yeah, the Steelers! Lost in the brouhaha ignited in a Philly sports bar is the fact that sitting — and winning — on the western side of Pennsylvania are the Steelers (10-3). Unlike most matchups in series history, this one Sunday at the Linc comes with the tantalizing appeal of a potential Super Bowl preview. The Steelers have won seven of eight, and the Eagles (11-2) have won nine straight and could clinch the NFC East with a win and a Washington loss or tie. It's the first time the teams — among the original eight NFL teams — will play each other when they both have a double-digit win total. Both teams are in strong position for a playoff run — the Eagles led by Saquon Barkley and his pursuit of Eric Dickerson's NFL season rushing record; Russell Wilson and the soft-schedule Steelers atop the AFC North in large part thanks to six wins against teams that currently have losing records. “I do like playing really good people, I think there's growth in it,” Steelers coach Mike Tomlin said. “You've got to get the job done. But man, I think there's significant growth in pitting your collective talents and skills versus big-time opponents and they're certainly that.” Will the drama out of Philly this week affect the Eagles? They certainly don't think so and neither do the oddsmakers — the Eagles are 5 1/2-point favorites, per BetMGM. “What I’ve noticed about this football team is they’re so locked in and determined to get better each day,” Eagles coach Nick Sirianni said. “We don’t really want anyone else talking to us about anything other than the Pittsburgh Steelers.” Good luck with that, Coach. Maybe playing the Steelers on Sunday at home can snap the Eagles out of their offensive malaise. Hurts threw three TD passes to Brown in a 35-13 win in 2022. Barkley watch Barkley leads the NFL in rushing with 1,623 yards, 216 yards ahead of Baltimore’s Derrick Henry. He is averaging 124.8 yards per game. At that pace, and with one more game to play than Dickerson had, he would become the top single-season rusher in NFL history. He needs 483 yards over the final four games to top Dickerson’s 40-year-old record. Barkley is on pace for 2,122 yards, which would put him just 17 yards beyond Dickerson’s 2,105 in 1984. Barkley doesn’t need much of a reminder from his 2020 performance when, while playing for the New York Giants, he ran into a Pittsburgh defense that seemed reminiscent of its famed Steel Curtain. The Steelers held Barkley to 6 yards on 15 carries. Bye, George The Steelers will have to find a way forward against the NFL’s toughest defense without wide receiver George Pickens, who will miss his second straight game with a hamstring injury. Pittsburgh survived last week against Cleveland, with Mike Williams and Scotty Miller — afterthoughts of late — coming off the bench to make an impact. While Tomlin believes “the strength of the pack is the pack,” the reality is the Steelers don’t have anyone who can stretch the field like Pickens, who leads the team in receptions (55) and yards (850) by a wide margin. It’s a challenge, but considering the way Wilson has spread the ball around — eight players caught passes against the Browns — he won’t lack for options. “Everybody in the receiver room has a different skill set, different strengths,” Calvin Austin III said. “The coaching staff knows that and they know how to put us in position to be able to show that.” Playoff preview The cross-state trip to Philadelphia, where the Steelers haven’t won in nearly 60 years, is the start of an 11-day stretch in which Pittsburgh faces three teams likely bound for the playoffs. While Tomlin is leaning into the “nameless, gray faces” mantra he uses for every opponent, his players know facing the Eagles, Ravens and Chiefs in such a short period is a litmus test for what’s to come in January. “That’s why I’m in the league, period,” linebacker Patrick Queen said. “When you sign up to play football, you want to play at the highest level. ... I love to play the game the right way. I think these next few games is going to show that and it starts with the Eagles.” AP NFL: https://apnews.com/hub/nflNew Delhi: The Andhra Cricket Association (ACA) on Saturday announced a cash award of Rs 25 lakh for young Nitish Reddy, acknowledging his maiden Test century effort, which was crucial to India’s fightback in the Boxing Day Test in Melbourne. The 21-year-old Reddy scored a resilient unbeaten 105 to steer India to 358 for nine on the third day of the fourth Test at the Melbourne Cricket Ground. “It is a fortunate day and a happiest moment for the Andhra Cricket Association. We are very happy that a boy from Andhra has been picked for the Test format and international T20 format. As an honour, on behalf of the Andhra Cricket Association, Rs 25 lakh prize money is being given to Nitish Kumar Reddy,” (ACA) President Kesineni Sivanath said. Reddy, who has been a standout performer in the Border-Gavaskar Trophy, showed his grit again in the fourth Test, sharing a crucial 127-run partnership with Washington Sundar (50 off 162 balls). Reddy’s remarkable innings was praised by cricketing legends with Sunil Gavaskar describing it as one of the greatest Test knocks in India’s Test history.NEW YORK (AP) — U.S. stock indexes fell Thursday following some potentially discouraging data on the economy . The S&P 500 slipped 0.5% for its fourth loss in the last six days. It’s a pause for the index, which has been rallying toward one of its best years of the millennium . The Dow Jones Industrial Average lost 234 points, or 0.5%, and the Nasdaq composite sank 0.7% from its record set the day before. A report early in the morning said more U.S. workers applied for unemployment benefits last week than expected. A separate update, meanwhile, showed that inflation at the wholesale level, before it reaches U.S. consumers, was hotter last month than economists expected. Neither report points to imminent disaster, but they dilute one of the hopes that’s driven the S&P 500 to 57 all-time highs so far this year : Inflation is slowing enough to convince the Federal Reserve to keep cutting interest rates, while the economy is remaining solid enough to stay out of a recession. Of the two reports, the weaker update on the job market may be the bigger deal for the market, according to Chris Larkin, managing director, trading and investing, at E-Trade from Morgan Stanley. A surge in egg prices may have been behind the worse-than-expected inflation numbers. “One week doesn’t negate what has been a relatively steady stream of solid labor market data, but the Fed is primed to be sensitive to any signs of a softening jobs picture,” he said. Traders are widely expecting the Fed will ease its main interest rate at its meeting next week. If they’re correct, it would be a third straight cut by the Fed after it began lowering rates in September from a two-decade high. It’s hoping to support a slowing job market after getting inflation nearly all the way down to its 2% target. Lower rates would give a boost to the economy and to prices for investments, but they could also provide more fuel for inflation. A cut next week would have the Fed following other central banks, which lowered rates on Thursday. The European Central Bank cut rates by a quarter of a percentage point, as many investors expected, and the Swiss National Bank cut its policy rate by a steeper half of a percentage point. Following its decision, Switzerland’s central bank pointed to uncertainty about how U.S. President-elect Donald Trump’s victory will affect economic policies, as well as about where politics in Europe is heading. Trump has talked up tariffs and other policies that could upend global trade. He rang the bell marking the start of trading at the New York Stock Exchange on Thursday to chants of “USA.” On Wall Street, Adobe fell 13.7% and was one of the heaviest weights on the market despite reporting stronger profit for the latest quarter than analysts expected. The company gave forecasts for profit and revenue in its upcoming fiscal year that fell a bit shy of analysts’. Warner Bros. Discovery soared 15.4% after unveiling a new corporate structure that separates its streaming business and film studios from its traditional television business. CEO David Zaslav said the move “enhances our flexibility with potential future strategic opportunities,” raising speculation about a spinoff or sale. Kroger rose 3.2% after saying it would get back to buying back its own stock now that its attempt to merge with Albertsons is off . Kroger’s board approved a program to repurchase up to $7.5 billion of its stock, replacing an existing $1 billion authorization. All told, the S&P 500 fell 32.94 points to 6,051.25. The Dow Jones Industrial Average dropped 234.55 to 43,914.12, and the Nasdaq composite sank 132.05 to 19,902.84. In stock markets abroad, European indexes held relatively steady following the European Central Bank’s cut to rates. Asian markets were stronger. Indexes rose 1.2% in Hong Kong and 0.8% in Shanghai as leaders met in Beijing to set economic plans and targets for the coming year. South Korea’s Kospi rose 1.6% for its third straight gain of at least 1%, as it pulls back following last week’s political turmoil where its president briefly declared martial law. In the bond market, the 10-year U.S. Treasury yield rose to 4.33% from 4.27% late Wednesday. AP Business Writers Matt Ott and Elaine Kurtenbach contributed.
UBHOME Collaborates with Qualcomm to Release the Smart Lawn Mower, Co-Creating a New Era of Smart LifePutin Reveals Biden Offered To Postpone Ukraine's NATO Entry As Compromise
Third Quarter Fiscal 2025 Total Revenue of $529.4 million , up 22% Year-over-Year Continued Strong Customer Growth with Over 52,600 Customers as of October 31, 2024 MongoDB Atlas Revenue up 26% Year-over-Year; 68% of Total Q3 Revenue NEW YORK , Dec. 9, 2024 /PRNewswire/ -- MongoDB, Inc. (NASDAQ: MDB ) today announced its financial results for the third quarter ended October 31, 2024 . "MongoDB's third quarter results were significantly ahead of expectations on the top and bottom line, driven by better-than-expected EA performance and 26% Atlas revenue growth. We continue to see success winning new business due to the superiority of MongoDB's developer data platform in addressing a wide variety of mission-critical use cases," said Dev Ittycheria, President and Chief Executive Officer of MongoDB. "We continue to invest in our legacy app modernization and AI offerings as our document model and distributed architecture are exceptionally well suited for customers looking to build highly-performant, modern applications. MongoDB is in a great position to be a central pillar of the emerging AI tech stack and benefit from the next wave of application development in the years ahead." Third Quarter Fiscal 2025 Financial Highlights Revenue: Total revenue was $529.4 million for the third quarter of fiscal 2025, an increase of 22% year-over-year. Subscription revenue was $512.2 million , an increase of 22% year-over-year, and services revenue was $17.2 million , an increase of 18% year-over-year. Gross Profit: Gross profit was $394.0 million for the third quarter of fiscal 2025, representing a 74% gross margin compared to 75% in the year-ago period. Non-GAAP gross profit was $405.7 million , representing a 77% non-GAAP gross margin, consistent with a non-GAAP gross margin of 77% in the year-ago period. Loss from Operations: Loss from operations was $27.9 million for the third quarter of fiscal 2025, compared to a loss from operations of $45.2 million in the year-ago period. Non-GAAP income from operations was $101.5 million , compared to non-GAAP income from operations of $78.5 million in the year-ago period. Net Loss: Net loss was $9.8 million , or $0.13 per share, based on 74.0 million weighted-average shares outstanding, for the third quarter of fiscal 2025. This compares to a net loss of $29.3 million , or $0.41 per share, in the year-ago period. Non-GAAP net income was $98.1 million , or $1.16 per share, based on 84.2 million diluted weighted-average shares outstanding. This compares to a non-GAAP net income of $79.1 million , or $0.96 per share, in the year-ago period. Cash Flow : As of October 31, 2024 , MongoDB had $2.3 billion in cash, cash equivalents, short-term investments and restricted cash. During the three months ended October 31, 2024 , MongoDB generated $37.4 million of cash in operations, used $2.0 million of cash in capital expenditures and used $0.9 million of cash in principal repayments of finance leases, leading to free cash flow of $34.6 million , compared to free cash flow of $35.0 million in the year-ago period. A reconciliation of each non-GAAP measure to the most directly comparable GAAP measure has been provided in the financial statement tables included at the end of this press release. An explanation of these measures is also included below under the heading "Non-GAAP Financial Measures." Third Quarter Fiscal 2025 and Recent Business Highlights MongoDB announced the general availability of MongoDB 8.0, the best-performing version of MongoDB. With more than 45 architectural enhancements and new features like vector quantization in MongoDB Atlas Vector Search, MongoDB 8.0 provides significant performance improvements, reduced costs, and additional scalability, resilience, and data security capabilities. MongoDB continues to expand its partnerships with the major cloud providers. At Amazon Web Services' (AWS) re:Invent conference, MongoDB was named AWS's Technology Partner of the Year for North America . MongoDB also announced that it obtained the AWS Modernization Competency designation and launched a MongoDB University course focused on building AI applications with MongoDB and AWS. At Microsoft Ignite, MongoDB announced new technology integrations for AI, data analytics, and automating database deployments across on-premises, cloud, and edge environments. Launched in July 2024 , the MongoDB AI Applications Program (MAAP) is designed to help companies unleash the power of their data and to take advantage of rapidly advancing AI technologies. We recently announced that Capgemini, Confluent, IBM, Unstructured, and QuantumBlack, AI by McKinsey have joined the MAAP ecosystem, offering customers additional integration and solution options. Executive Leadership Update Michael Gordon , MongoDB's Chief Operating Officer and Chief Financial Officer, will be stepping down at the end of the Company's fiscal year on January 31, 2025 , and afterwards will serve as an advisor to ensure a smooth transition. The Company has commenced an executive search process for a new CFO and will evaluate internal and external candidates. Serge Tanjga, MongoDB's Senior Vice President of Finance, will serve as interim CFO starting February 1st if a permanent successor has not been named by that date. Dev Ittycheria commented, "On behalf of everyone at MongoDB, I want to thank Michael for everything he has done to contribute to our success in his nearly 10 years with the company. In Michael's time here, MongoDB had a successful IPO, has grown revenue nearly 50x and has successfully scaled the business model to generate meaningful operating leverage. Michael has also built out a world-class finance team that I am confident will deliver a smooth transition to a new CFO in the coming months." Michael Gordon said, "I am incredibly proud of what we have accomplished as a team in my almost ten years with the company. While we have achieved much success to date, I strongly believe MongoDB is still in the early stages of realizing its full potential as it continues to expand its share in one of the largest markets in software. I'd like to thank Dev for our tremendous partnership this past decade." Fourth Quarter and Full Year Fiscal 2025 Guidance Based on information available to management as of today, December 9, 2024 , MongoDB is issuing the following financial guidance for the fourth quarter and full year fiscal 2025. Reconciliations of non-GAAP income from operations and non-GAAP net income per share guidance to the most directly comparable GAAP measures are not available without unreasonable efforts on a forward-looking basis due to the high variability, complexity and low visibility with respect to the charges excluded from these non-GAAP measures; in particular, the measures and effects of stock-based compensation expense specific to equity compensation awards that are directly impacted by unpredictable fluctuations in MongoDB's stock price. MongoDB expects the variability of the above charges to have a significant, and potentially unpredictable, impact on its future GAAP financial results. Conference Call Information MongoDB will host a conference call today, December 9, 2024 , at 5:00 p.m. (Eastern Time) to discuss its financial results and business outlook. A live webcast of the call will be available on the "Investor Relations" page of MongoDB's website at https://investors.mongodb.com . To access the call by phone, please go to this link ( registration link ), and you will be provided with dial in details. To avoid delays, we encourage participants to dial into the conference call fifteen minutes ahead of the scheduled start time. A replay of the webcast will also be available for a limited time at http://investors.mongodb.com . Forward-Looking Statements This press release includes certain "forward-looking statements" within the meaning of Section 27A of the Securities Act of 1933, as amended, or the Securities Act, and Section 21E of the Securities Exchange Act of 1934, as amended, including statements concerning MongoDB's financial guidance for the fourth fiscal quarter and full year fiscal 2025. These forward-looking statements include, but are not limited to, plans, objectives, expectations and intentions and other statements contained in this press release that are not historical facts and statements identified by words such as "anticipate," "believe," "continue," "could," "estimate," "expect," "intend," "may," "plan," "project," "will," "would" or the negative or plural of these words or similar expressions or variations. These forward-looking statements reflect our current views about our plans, intentions, expectations, strategies and prospects, which are based on the information currently available to us and on assumptions we have made. Although we believe that our plans, intentions, expectations, strategies and prospects as reflected in or suggested by those forward-looking statements are reasonable, we can give no assurance that the plans, intentions, expectations or strategies will be attained or achieved. Furthermore, actual results may differ materially from those described in the forward-looking statements and are subject to a variety of assumptions, uncertainties, risks and factors that are beyond our control including, without limitation: our customers renewing their subscriptions with us and expanding their usage of software and related services; the effects of the ongoing military conflicts between Russia and Ukraine and Israel and Hamas on our business and future operating results; economic downturns and/or the effects of rising interest rates, inflation and volatility in the global economy and financial markets on our business and future operating results; our potential failure to meet publicly announced guidance or other expectations about our business and future operating results; our limited operating history; our history of losses; failure of our platform to satisfy customer demands; the effects of increased competition; our investments in new products and our ability to introduce new features, services or enhancements; our ability to effectively expand our sales and marketing organization; our ability to continue to build and maintain credibility with the developer community; our ability to add new customers or increase sales to our existing customers; our ability to maintain, protect, enforce and enhance our intellectual property; the effects of social, ethical and regulatory issues relating to the use of new and evolving technologies, such as artificial intelligence, in our offerings or partnerships; the growth and expansion of the market for database products and our ability to penetrate that market; our ability to integrate acquired businesses and technologies successfully or achieve the expected benefits of such acquisitions; our ability to maintain the security of our software and adequately address privacy concerns; our ability to manage our growth effectively and successfully recruit and retain additional highly-qualified personnel; and the price volatility of our common stock. These and other risks and uncertainties are more fully described in our filings with the Securities and Exchange Commission ("SEC"), including under the caption "Risk Factors" in our Quarterly Report on Form 10-Q for the quarter ended July 31, 2024 , filed with the SEC on August 30, 2024 . Additional information will be made available in our Quarterly Report on Form 10-Q for the quarter ended October 31, 2024 , and other filings and reports that we may file from time to time with the SEC. Except as required by law, we undertake no duty or obligation to update any forward-looking statements contained in this release as a result of new information, future events, changes in expectations or otherwise. Non-GAAP Financial Measures This press release includes the following financial measures defined as non-GAAP financial measures by the SEC: non-GAAP gross profit, non-GAAP gross margin, non-GAAP operating expenses, non-GAAP income from operations, non-GAAP operating margin, non-GAAP net income, non-GAAP net income per share and free cash flow. Non-GAAP gross profit and non-GAAP gross margin exclude expenses associated with stock-based compensation. Non-GAAP operating expenses, non-GAAP income from operations, non-GAAP operating margin, non-GAAP net income and non-GAAP net income per share exclude: expenses associated with stock-based compensation including employer payroll taxes upon the vesting and exercising of stock-based awards and expenses related to stock appreciation rights previously issued to our employees in China ; amortization of intangible assets for the acquired technology and acquired customer relationships associated with prior acquisitions; and in the case of non-GAAP net income and non-GAAP net income per share, amortization of the debt issuance costs associated with our convertible senior notes and gains or losses on our financial instruments; additionally, non-GAAP net income and non-GAAP net income per share are adjusted for an assumed provision for income taxes based on an estimated long-term non-GAAP tax rate. The non-GAAP tax rate was calculated utilizing a three-year financial projection that excludes the direct impact of the GAAP to non-GAAP adjustments and considers other factors such as operating structure and existing tax positions in various jurisdictions. We intend to periodically reevaluate the projected long-term tax rate, as necessary, for significant events and our ongoing analysis of relevant tax law changes. MongoDB uses these non-GAAP financial measures internally in analyzing its financial results and believes they are useful to investors, as a supplement to GAAP measures, in evaluating MongoDB's ongoing operational performance. MongoDB believes that the use of these non-GAAP financial measures provides an additional tool for investors to use in evaluating ongoing operating results and trends and in comparing its financial results with other companies in MongoDB's industry, many of which may present similar non-GAAP financial measures to investors. Free cash flow represents net cash from/used in operating activities, less capital expenditures, principal repayments of finance lease liabilities and capitalized software development costs, if any. MongoDB uses free cash flow to understand and evaluate its liquidity and to generate future operating plans. The exclusion of capital expenditures, principal repayments of finance lease liabilities and amounts capitalized for software development facilitates comparisons of MongoDB's liquidity on a period-to-period basis and excludes items that it does not consider to be indicative of its liquidity. MongoDB believes that free cash flow is a measure of liquidity that provides useful information to investors in understanding and evaluating the strength of its liquidity and future ability to generate cash that can be used for strategic opportunities or investing in its business in the same manner as MongoDB's management and board of directors. Non-GAAP financial measures have limitations as an analytical tool and should not be considered in isolation from, or as a substitute for, financial information prepared in accordance with GAAP. In particular, other companies may report non-GAAP gross profit, non-GAAP gross margin, non-GAAP operating expenses, non-GAAP income from operations, non-GAAP net income, non-GAAP net income per share, free cash flow or similarly titled measures but calculate them differently, which reduces their usefulness as comparative measures. Investors are encouraged to review the reconciliation of these non-GAAP financial measures to their most directly comparable GAAP financial measures, as presented below. This earnings press release and any future releases containing such non-GAAP reconciliations can also be found on the Investor Relations page of MongoDB's website at https://investors.mongodb.com . About MongoDB Headquartered in New York , MongoDB's mission is to empower innovators to create, transform, and disrupt industries by unleashing the power of software and data. Built by developers, for developers, MongoDB's developer data platform is a database with an integrated set of related services that allow development teams to address the growing requirements for today's wide variety of modern applications, all in a unified and consistent user experience. MongoDB has tens of thousands of customers in over 100 countries. The MongoDB database platform has been downloaded hundreds of millions of times since 2007, and there have been millions of builders trained through MongoDB University courses. To learn more, visit mongodb.com . Investor Relations Brian Denyeau ICR for MongoDB 646-277-1251 [email protected] Media Relations MongoDB [email protected] SOURCE MongoDB, Inc.
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The School Bus Market: Trends, Size, Share, Growth, and Demand by 2031PHILADELPHIA (AP) — The guy on the Philly sports talk radio station had something to say, and he started to vent about the perceived strained relationship between star quarterback Jalen Hurts and standout wide receiver A.J. Brown. Why weren’t these two Pro Bowl Eagles on the same page? Why had their personal and professional relationship changed even with Philadelphia enjoying tremendous success? It was football gossip usually ripe for a hot-take host or fed-up fan to stir up on the air — only in this instance, the temperature check came from inside the locker room. Normally respected team leader Brandon Graham, who is sidelined with a triceps injury, noted in a radio appearance that “ things have changed ” between Hurts and Brown in the wake of a stale passing game in last week’s win over Carolina. An apologetic Graham walked back his comments. Hurts and Brown both insisted their relationship was cool in front of media hordes more appropriate for the Super Bowl. As for the rest of the Eagles, they were ready to squash the so-called controversy. “We are moving on,” offensive lineman and Christmas song crooner Jordan Mailata said. “It is the Pittsburgh Steelers this week. Not the A.J. Brown and Jalen Show. It is the Pittsburgh Steelers. That’s it.” Oh yeah, the Steelers! Lost in the brouhaha ignited in a Philly sports bar is the fact that sitting — and winning — on the western side of Pennsylvania are the Steelers (10-3). Unlike most matchups in series history, this one Sunday at the Linc comes with the tantalizing appeal of a potential Super Bowl preview. The Steelers have won seven of eight, and the Eagles (11-2) have won nine straight and could clinch the NFC East with a win and a Washington loss or tie. It's the first time the teams — among the original eight NFL teams — will play each other when they both have a double-digit win total. Both teams are in strong position for a playoff run — the Eagles led by Saquon Barkley and his pursuit of Eric Dickerson's NFL season rushing record; Russell Wilson and the soft-schedule Steelers atop the AFC North in large part thanks to six wins against teams that currently have losing records. “I do like playing really good people, I think there's growth in it,” Steelers coach Mike Tomlin said. “You've got to get the job done. But man, I think there's significant growth in pitting your collective talents and skills versus big-time opponents and they're certainly that.” Will the drama out of Philly this week affect the Eagles? They certainly don't think so and neither do the oddsmakers — the Eagles are 5 1/2-point favorites, per BetMGM. “What I’ve noticed about this football team is they’re so locked in and determined to get better each day,” Eagles coach Nick Sirianni said. “We don’t really want anyone else talking to us about anything other than the Pittsburgh Steelers.” Good luck with that, Coach. Maybe playing the Steelers on Sunday at home can snap the Eagles out of their offensive malaise. Hurts threw three TD passes to Brown in a 35-13 win in 2022. Barkley leads the NFL in rushing with 1,623 yards, 216 yards ahead of Baltimore’s Derrick Henry. He is averaging 124.8 yards per game. At that pace, and with one more game to play than Dickerson had, he would become the top single-season rusher in NFL history. He needs 483 yards over the final four games to top Dickerson’s 40-year-old record. Barkley is on pace for 2,122 yards, which would put him just 17 yards beyond Dickerson’s 2,105 in 1984. Barkley doesn’t need much of a reminder from his 2020 performance when, while playing for the New York Giants, he ran into a Pittsburgh defense that seemed reminiscent of its famed Steel Curtain. The Steelers held Barkley to 6 yards on 15 carries. The Steelers will have to find a way forward against the NFL’s toughest defense without wide receiver George Pickens, who will miss his second straight game with a hamstring injury. Pittsburgh survived last week against Cleveland, with Mike Williams and Scotty Miller — afterthoughts of late — coming off the bench to make an impact. While Tomlin believes “the strength of the pack is the pack,” the reality is the Steelers don’t have anyone who can stretch the field like Pickens, who leads the team in receptions (55) and yards (850) by a wide margin. It’s a challenge, but considering the way Wilson has spread the ball around — eight players caught passes against the Browns — he won’t lack for options. “Everybody in the receiver room has a different skill set, different strengths,” Calvin Austin III said. “The coaching staff knows that and they know how to put us in position to be able to show that.” The cross-state trip to Philadelphia, where the Steelers haven’t won in nearly 60 years, is the start of an 11-day stretch in which Pittsburgh faces three teams likely bound for the playoffs. While Tomlin is leaning into the “nameless, gray faces” mantra he uses for every opponent, his players know facing the Eagles, Ravens and Chiefs in such a short period is a litmus test for what’s to come in January. “That’s why I’m in the league, period,” linebacker Patrick Queen said. “When you sign up to play football, you want to play at the highest level. ... I love to play the game the right way. I think these next few games is going to show that and it starts with the Eagles.” AP NFL: https://apnews.com/hub/nfl